LONDON SYMPHONY ORCHESTRA VOL. 1 & 2 features instrumental pieces arranged by Zappa for an orchestra.
To the uninitiated, Frank Zappa was known primarily as an unpredictable, hard-to-categorize, twisted rock genius. But to his loyal legion of fans worldwide, he is much more. Not many realize that Zappa was a talented composer and arranger of symphonic music as well, as evidenced on such releases as 1979's ORCHESTRAL FAVORITES, and especially LONDON SYMPHONY ORCHESTRA VOL. 1 & 2.
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When Frank Zappa teamed up with renowned conductor Kent Nagano and the London Symphony Orchestra for three days in January 1983, he was expecting to walk away with a set of stellar performances of some of his most challenging contemporary classical pieces, as done by one of the world's top symphonic ensembles. What he got instead were bad attitudes, terrible work habits, unforgiving union stipulations and a hard lesson in preconceived notions – showing him that working with unschooled but enthusiastic rock musicians also had its advantages, and giving rise to his well-documented love/hate (mostly hate) relationship with symphony orchestras thereafter.
When Frank Zappa teamed up with renowned conductor Kent Nagano and the London Symphony Orchestra for three days in January 1983, he was expecting to walk away with a set of stellar performances of some of his most challenging contemporary classical pieces, as done by one of the world's top symphonic ensembles. What he got instead were bad attitudes, terrible work habits, unforgiving union stipulations and a hard lesson in preconceived notions – showing him that working with unschooled but enthusiastic rock musicians also had its advantages, and giving rise to his well-documented love/hate (mostly hate) relationship with symphony orchestras thereafter.
Other people's songs have long been a staple for Bob Dylan, who first made his name in Greenwich Village by singing folk songs in the early '60s and often returned to old tunes as the years rolled by. Sometimes, he'd dip into the pre-WWII collection of standards known as the Great American Songbook, peppering set lists with unexpected selections as early as the '80s and even covering Dean Martin's "Return to Me" for The Sopranos in 2001, and he's made no secret of his affection for old-fashioned crooning on the records he's made since 2001's Love and Theft, but even with this long history of overt affection for pre-rock & roll pop, the existence of 2015's Shadows in the Night might come as a surprise.